French Baroque Era Painter, 1686-1755 French painter. He was the principal animal painter and one of the foremost decorative painters during the first half of Louis XVs reign. After initial training as a portrait painter, he concentrated on still-lifes; by the 1720s he had also begun to establish himself as a specialist in hunting scenes, game-pieces and portraits of animals. He ran an active workshop, often keeping his best originals for years and selling copies and (more or less autograph) variants. In the 1730s he was most active as a tapestry designer, making numerous designs for the royal tapestry works of Beauvais and the Gobelins, and he continued to produce his brilliantly painted hunts, still-lifes and studies of animals and birds to the end of his career.  Related Paintings of Jean Baptiste Oudry :. | Still Life with Fruit | Dead Wolf | Still Life with a Pheasant (mk05) | taxen pehr med jaktbyte | Misse et Turly |
Related Artists:
Modest Urgell
Modest Urgell (1839-1919) was a Spanish Catalan painter, illustrator, and playwright of comedies. He was educated at the Llotja School, in Barcelona, with Ramon Marte i Alsina and knew Gustave Courbet after a visit to Paris. Though he painted portraits, his prolific body of work is dominated by Neo-romantic landscapes, such as Fields of Loneliness (Campos de Soledad) (1894). He also acted and wrote such works for the theatre as Far from the Eyes, Close to the Heart (Lejos de los Ojos, Cerca del Corazon) (1898). In 1910 he taught at the School of Industrial and Fine Arts in Barcelona. Whilst he was there he worked with Josep Pasce and he taught the young Joan Miro.
Thomas Couture
1815-1879 French Thomas Couture Location French painter and teacher. A student of Antoine-Jean Gros in 1830-38 and Paul Delaroche in 1838-9, he demonstrated precocious ability in drawing and was expected to win the Prix de Rome. He tried at least six times between 1834 and 1839, but achieved only second prize in 1837 (entry untraced). Disgusted with the politics of the academic system, Couture withdrew and took an independent path. He later attacked the stultified curriculum of the Ecole des Beaux-Arts and discouraged his own students from entering this institution. He first attained public notoriety at the Paris Salon with Young Venetians after an Orgy (1840; Montrouge, priv. col., see Boime, p. 85), the Prodigal Son (1841; Le Havre, Mus. B.-A.) and the Love of Gold (1844; Toulouse, Mus. Augustins). These early canvases are treated in a moralizing and anecdotal mode; the forms and compositional structures, like the debauched and corrupt protagonists, are sluggish and dull. Yet what made his work seem fresh to the Salon audience was his use of bright colour and surface texture derived from such painters as Alexandre-Gabriel Decamps and Eugene Delacroix, while his literary bent and methodical drawing demonstrated his mastery of academic tradition. The critics Thophile Gautier and Paul Mantz (1821-95) proclaimed him as the leader of a new school that mediated between the old and the new, and looked to him for a revitalization of Salon painting. The air of compromise his works projected made him appear a cultural representative of the juste milieu policies of Louis-Philippe.
John Alonzo Williams
American , 1869-1951